Diary kept by the actor Naim Frasheri: Tirana, on 19.1.1954 I started my professional career as an actor at the beginning of 1945, but my love for the theater was born in 1943, when we, guided by the communist youth, started preparing the drama "Vilhelm Tel", by Schiller. Naturally, this performance was not allowed by the fascists to take place. This fact greatly influenced me to deeply understand the role of the theater and to love it more. At the beginning of 1944, the youth artistic group was created in the mountain (Priskë). There, sent by the Youth organization, where I was a member, we organized the theater group and prepared the play "Partizanët" by Fatmir Dëta, in which I played the main role. The show was given in Tirana on November 28-29, 1944, with the liberation of the country. After a monologue that I recited at the age of 7, in front of my parents at the primary school in the city of Kavaja and after several small parts with 1 act, which were given during the war, among the different neighborhoods of Tirana, for the residents of these, the role of the commissar in the drama "Partizanët", it was my first meeting with the audience, in a big show, and I say it was my first debut on the stage of the theater. At this time I decided to dedicate myself to the profession of actor. They didn't believe me. In May 1945, with the creation of the state professional theater, I was accepted as a member of that collective. At first, the roles did not trust me and I started to feel uncomfortable. After a year, when our director Pandi Stillu came from Romania, I was entrusted with the role of Misha in "Portreti". I didn't succeed. The question marks about my prospect started again. This is the most difficult period for me. The faith I had in myself was met by the disbelief of a large part of the theater… But… finally, the director dear to me, P. Stillu, entrusted me with the role of Fjodor in "Invadimi". Very good role, but difficult. It took me a lot of work, not only to create this role, but also to break the terrible wall of "opinion" and have a place in the collective. I achieved my goal. The play was very well received and my interpretation of the role of Fedja was very popular and, as usual, the roles began to be assigned to me one after another. The road to the top The unforgettable role of Teodori will remain for me, not only for its depth and beauty, but because my work in this role was decisive for my future in theatrical art. After this role, I was given Valeri in "Tartufi", Smith in "The Russian Issue". With this role, another stage began for me. Through the Soviet director, Vladimir Dudin, I was introduced to realistic theater. I worked on the basis of the Stanislavski school and, although for a short time, I understood more clearly the great demands that were needed to continue the profession of an actor. The show was very successful. A great role for my maturity as an actor was played by the repertoire with parts of Soviet dramaturgy. Since our national dramaturgy had just begun to record some work here and there. So I had the chance to interpret quite interesting roles from the best works of Soviet playwrights such as Borodskij in "For those who are at sea", Stjepa in "Plato Creciot", Macdonal in "Voice of America", Krivashein in "Moscow Character" ", etc. I was impressed by the role of Nicholas in Gorky's "Enemies". This role would not sound to me if we did not agree so much with the young and talented director, Mihallaq Luarasi, in handling this part. An interesting job for me was in the role of Merrih in "Deep Roots", directed by AJ Krichkov and, especially, the phase of the breakdown of the role. But I am very attracted to roles that are different from my plan and nature as an actor. Likewise, I also enjoyed working on the role of Van der Lubo in "The Leipzig Trial" and the role of Ribakov in "Kremlin Hours" directed by V.Bratko, although I had to prepare this role within ten days. since at this time I was simultaneously shooting the movie "Tana" outside the city. The biggest event in my creative work was the preparation of "Hamlet", staged by the director V.Bratko. I can't say anything about that. My Hamlet is still a normal baby and let's see how he will grow up with all the parental care from my side. 
"Intrigue and Love" One of the best roles I have is the role of Ferdinand in "Intrigue and Love". They say he plays well. In this role, I was awarded the Republic Award. I can say that this is the first important role in the classical repertoire. I was facing a great test against myself. This worried me a lot, on the other hand it forced me to devote myself to a very serious job. I was not preoccupied with the first acts of this play, but with the last act, where Ferdinand comes on stage and creates a completely different atmosphere from the first acts. I don't know how well I succeeded, but the critics have received it well. I also played this act more passionately, where the inner monologue prevails above all, but… the reality is that Schiller himself wrote this act with a lot of love and pain. Therefore, the greatest place of success is occupied by the author himself. 
When we were shooting "Skenderbeu". One of the most beautiful phases of my work in art is the time of shooting the film "Skenderbeu". An ideal group to develop a creative work. Of course, this is dedicated to the leader of the group, the director, the beloved, Sergej Yutkevich, who with a strange force created, in every sense of the word, such an atmosphere of work, which is difficult to forget, and preserved it until the end . But on the other hand, all the members of the group were predisposed to such work. From the first meeting with him (Jutkevic), I understood who I was dealing with. I fell in love with him and tried to create every opportunity to learn as much as possible, but… unfortunately he was quite busy with work, so I didn't get what I wanted. It was my first debut in cinematography and of course, like anything, it was difficult at first, but I got used to it. Interesting work. I turned 35 years old and I have performed 40 roles on stage, among which more than half were leading roles. (the mestizos are from the editors) The actor's impressions of a play from 1954 How I worked with the part "Honor of the family" At the beginning when the roles were divided, the role that was assigned to me, I didn't stand up, in a word, I didn't like it . I wanted to play Bajram, as it was a different role from the ones I had played before and in this role I saw that I would have some progress in developing as an actor. But in reality, I was assigned Ata and not Eid. I have a difficult job ahead of me 1) The director who was new and I didn't know her work. 2) The role I didn't like. The work began. I got used to directing in the first days. And I say with conviction that I understood. Her work focused on logic, on interpretation as simple and realistic as possible, without pomposity, and all this agreed with my work as an actor. But for the role I needed work. First, I had to find such emotions in the role, to make me love it, and I started with the lyricism contained in the role, since it was closest to my nature. Monologues on the nature of Turkmenistan, dialogues with Zina made my work easier, as they corresponded to my individuality. Embracing these moments, I began to "love" the country, that is, Turkmenistan, and with Zina, to love the people and first of all their purity and honesty. When I got to some extent with these, then I started to ease up and without difficulty I got into the core of the role. After a continuous work, I became friends with the role, but I could not love it. The author bothered me a lot. The transition from one situation to another was fast, it did not allow me to make these transitions organically. In some moments, I had a great need for warmth from the figure dearest to me in the part, Zina, I didn't have that. These did not encourage me much. When we started the movements, at first I had difficulties with the way of directing. Her frequent stops bothered me. I felt the need to quickly work out the skeleton of the movements of my role and then go into the details. This did not last long, as even the director began to understand my nature as an individual to some extent. This mutual understanding resulted in a kind of shared inspiration between me and the director. From this it was born, that the director, with a little shyness, started to make constant remarks to me, which were not difficult for me to implement. This was my work with the role of Ata. _______________________________ Published for the first time on the page "Albanian Cinema" in 2016.
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